Karen Raugust looks at how Indian animation programs are teaming up with studios and software providers to expand the countrys workforce as its 3D industry grows.
VFXWorld polled its readers to see how they are training for their careers and getting jobs. Rick DeMott reports back with the findings and highlights.
Craig Zerouni looks at the state of CG and wonders if weve reached the end of significant technological breakthroughs in the medium.
Dariush Derakhshani talks with recruiters and other industry insiders about hiring trends to help you ride a new career wave.
Comic pro Danny Fingeroth talks with Double Negatives visual effects supervisor Paul Franklin about bringing Batman Begins to the big screen.
Comic pro Danny Fingeroth explores how director Christopher Nolan and the vfx teams have embraced a back to basics approach on Batman Begins.
In the seventh part of the production planning chapter from the book, Inspired 3D Short Film Production, Jeremy Cantor and Pepe Valencia go deeper into scheduling and charting your CG short.
Tara DiLullo sets out on an adventure to discover the details of director Robert Rodriquezs return to 3D and family fare with The Adventures of Shark Boy and Lava Girl in 3-D.
In the sixth part of the production planning chapter from the book, Inspired 3D Short Film Production, Jeremy Cantor and Pepe Valencia discuss more helpful tips in creating a successful CG short.
Bruce Shutan looks at how Gray Matter FX relies on the art of subtlety to bring Lords of Dogtown to life.
In honor of the last Star Wars movie, Episode III Revenge of the Sith, VFXWorld concludes its three-part series with an in-depth look at the making of the newest villain, the CG General Grievous.
This month's Digital Eye has Peter Plantec giving the down low info on the big visual effects to come in 2005.
Rick DeMott investigates the world of low budget genre films and discovers that visual effects are making it easier and cheaper to do independent productions.
In honor of the last Star Wars movie, Episode III Revenge of the Sith, VFXWorld continues its three-part series with an in-depth look at ILMs ramping up of digital environments.
Andy Stout reports on how Optical Art and The Foundry collaborated on a new DI process to achieve the soft and surreal look in the latest feature from the Brothers Quay.
Libby Reed cracks open animation vet Martha Sigalls new book, Living Between the Lines: Tales from the Golden Age of Animation, and finds the line between biography and history.
With the long-awaited release of Paul Schraders Exorcist prequel, Alain Bielik unearths the secrets of Proximas digital success.
In honor of the last Star Wars movie, Episode III Revenge of the Sith, VFXWorld begins its own trilogy with an overview of ILMs technical achievements in George Lucas second triptych. This will be followed by Sith articles exploring digital environments and the making of the newest CG villain, General Grievous.
Alain Bielik explores how MPC improved its motion capture and crowd simulation toolset for the siege of Jerusalem in Kingdom of Heaven.
Tony Cristiano looks at the lightning speed advances in the visual effects industry and how it affects the big studios vs. the smaller ones.
Tara DiLullo explores the challenges of mixing practical and visual effects for Photon VFX in updating House of Wax for the Paris Hilton crowd.
Tim Miller talks about parlaying commercial success at Blur Studios into a flourishing shorts program.
Peter Plantec reports back from fmx/05 in Stuttgart, Germany, after experiencing an invigorating and intimate kind of DCC conference rooted in real-world and academic synergy.